Starship Krupa

When I have the Piano Roll View open in its default configuration, with the piano keys at the left, I can press a key on my MIDI controller and the piano key corresponding to the note I am playing is indicated visually, by the key taking on a darker appearance. This is useful for being able to quickly determine where to draw notes in the PRV: Unfortunately, such is not the case when the PRV is displaying the Drum Grid. You may wonder why I would need to have "snare" light up when it's obvious by listening that I'm playing the snare, but I have multiple drum machines that map samples and patterns across octaves in addition to the usual kick, snare, clap, toms, hats, etc. I can play a key, and the sample sound or pattern will come out of the monitors, but it's not obvious looking at the drum grid which key I'm pressing and therefore which row to draw my notes: In the above screen shot, you see that I'd have to find the row corresponding to the pattern I'm playing through trial-and-error. It would be much easier if the instrument names at the left could similarly highlight like they do when the piano keys are showing. Unfortunately the other way to get my drum names showing on the left is to use a drum names instrument map, which also doesn't have this visual indication of pressed notes.

I don't see why not; the behaviour I'd like is that the wheel scrolls the modules unless the cursor is over a control.

I suspect that as long as Meng is calling the shots at BandLab, Cakewalk will stay in the portfolio as a prestige freebie for them. Nothing is forever, though, as anyone who shelled out for the SPLat lifetime license can tell you. These days, Cakewalk's moved into "this program having a free license feels like cheating" territory. I can even understand those who still fret, 4 years on, that Cakewalk will turn into payware again. It just seems too good to be true. As did free parking after I lived in San Francisco a few years. "How can they maintain an acre of just empty flat asphalt??" In S.F it would have sprouted condos overnight. It's funny to remember that Cakewalk by BandLab has been Cakewalk by BandLab long enough for plenty of its users (and DAW users in general) to never have even heard of SONAR. 4 years is still a long time in computer years. It's funny to think that people could have started using Cakewalk by BandLab as high school freshmen and now be in college.

Didn't SONAR get this feature 5 years ago or so? I know that it's always been there in Cakewalk by BandLab. This is the first I've seen anyone question its need to exist. I do remember a pretty huge clamor (and rightly so) to get a visual indicator of ripple edit status, it seemed like the #1 request at the time, so there must be some people using the feature. I don't, I'm way more likely to need to add measures (my intro ideas come later), so Insert Time/Measures with all the scoot boxes checked is fine for me. So "don't need it/don't use it" works fine, too. And I expect when I do a plain vanilla delete that it will delete only the events and so forth that I selected while leaving everything else alone (unless I have ripple edit turned on). I would consider it an annoyance to have to answer a dialog about exactly what I wanted to delete each time, if that's how it used to be. I suspect that it's a commonly seen feature in other programs, and people making the switch wanted to be able to use it in Cakewalk. Sometimes you don't know that a feature is "missing" unless you're used to it from another program, where you may be using it all the time. 4 years on I still miss the full-length tails on markers that Mixcraft (and Studio One) has, but I would REALLY miss quick grouping and the ability to hide lanes if I had to switch back to Mixcraft.

I'm sure that people wind up owning licenses because they get them in an iZotope bundle. I suspect that the way it goes for mature products like this is that they sell all the $125 licenses they can until that market dries up, then have 50% off sales where the rest of the pros buy it, then after those stop drawing new licensees, it starts getting rotated into the PB bargain bin. And that's when people like us start screaming at everyone we can think of that this is an INSANE deal and they HAVE to cough up a dime or whatever.

Well, we just had an invasion of People Who Don't Want The Mousewheel To Work On Controls. Maybe the ProChannel is their only respite from relentless accidental knob tweaks. So, the cry is "extend the functionality of the mousewheel and allow that functionality to be turned off." Or something. Anyway, I'd love a solo button on the EQ flyout.

Might as well ask if you'd prefer the moon with or without green trees. Cakewalk is not going to drop support for WASAPI, the driver model that Cakewalk engineers helped Microsoft develop. Nor is it going to become the only Windows DAW to lack support for ASIO. Any time someone tosses out "that would be difficult/impossible to do because X" statements, I remember when we were told similar things about correctly naming I/O ports (which Cakewalk was the only piece of software I had that messed it up so badly) and not automatically shuffling MIDI ports when USB devices were unplugged and plugged back in. I was an advocate for making both of those fixes and was treated to more than one patient explanation of why it was technically unfeasible. In one case the audio driver reported those port names therefore Cakewalk had to display the same names (otherwise the Port Name Police would knock down the door?). In the other, it was impossible because the OS doesn't keep track of what's hooked up to any given USB port, therefore Cakewalk couldn't keep track of MIDI devices either, despite being able to give them persistent names. In both cases, Cakewalk was the only software I knew of that had these issues. If even one other DAW can do it, I'd say that it kinda proves that it at least can be done, it's just a matter of how much trouble it would be. Praise to the Cakewalk developers who stepped up and took care of these issues, BTW. I don't take them for granted, they were a pain in the neck and source of tech support confusion (the MIDI device issue). In the case of port naming, going way past what I hoped for and allowing us to name them ourselves (which has come in very handy with my new interface believe me). And it sure is nice not to lose the connection to my keyboard controller because I unplugged my nanoKONTROL and Cakewalk assigned my main MIDI interface's ports to a nonexistent control surface. All we can do is remind the devs every so often that a given issue still matters to us and try not to get discouraged if they don't get fixed as quickly as we would like. There are features and fixes that would be more useful to me than mono inserts, but it seems like a very important thing to some people, and if it were implemented, I might just hook up some of these external hardware boxes I have around, like my Craig Anderton Hot Springs Reverb.

Not so much the others (as when I'm working with them the solo button is right near by), but with the QuadCurve flyout, I am forever missing the solo button we get on VST's. Sometimes I can pin it and then scoot over to the strip to solo the track, but sometimes the UI obstructs this. And yes, I'm endlessly forgetting that I can't mousewheel PC module knobs.

Positively acephalic. The first time this deal came up I bought 2 licenses each without hesitation, based on my experience with Phoenix and R2, their predecessors. The only thing I've tried that can touch these is MTurboReverble, which is more expensive. Nimbus for natural reverb and R4 for classic hardware algos, and it's all you need. If you don't care for the fact that you only get a single license, well, think of it as $20 per and it's still amazing.

Same here. It's always seemed kind of vestigial. Every once in a while I see that it contains a synth that I thought I had deleted and that now has no track assigned, so I delete it from the rack. I'm no help, can't even figure out what I need to do to get those knobs to appear. Assigned controls? Assigned to what? For what reason? Maybe a controller? When I hit the button to assign a control, the UI for my synth popped up and just sat there.

I'm out; I have no idea how to even make those knobs show up.

Do Steinberg have a forum where you might ask if someone else has already worked it out, built the script or whatever?

Whoa, talk about happy accident, I hadn't known that VoS had finally done that. I used to like a couple of their plug-ins back in my 32-bit days, especially Density, which I see is now 64-bit. This is great information, and to @El Orbhe, Variety of Sound make some great freeware stuff, check them out.

Good shootin'. I'd guess it wasn't supplying enough juice for the 2i2 to provide proper phantom power to the mic.

At this point, I use a combination of tweaking note duration (and I remember those horrible MIDI songs from the 80's that seemed to use only one or two note durations for the whole thing) and manually fiddling with velocity. Messing with start times usually sounds "off" to me, unless as some have said, I nudge it behind the beat a click or two and do that consistently.

No, that's not the Step Sequencer's job. Step Sequencer is a way to enter MIDI notes. As suggested, look into Matrix View for the kind of workflow you describe. We hope that someday Cakewalk will get an integrated sampler, but until then, 3rd-party instruments and the Matrix are the only options.

You should use the Zoom's ASIO driver. Make sure that between the last time you ran the DAW and now that somehow ASIO4ALL/Magix Low Latency Driver or similar didn't get installed and hijack your driver. And yes, when you say it's not working, what exactly do you mean? Does the Zoom not show up in Preferences as an available device? Does it otherwise function but with poor sound quality or high latency? Does it work with programs other than Cakewalk? What is it not doing that you want it to do or is doing that you don't want it to do?

Hello, Yuri. The first thing that I can think of is that since your playback devices are different between your main system and your notebook, Cakewalk just needs to have your notebook's sound device selected as its output. Check in Preferences to make sure you have selected the notebook's sound device as an available output, then choose that as the output of your master bus. Make sure that you're copying over the full project folder, including the Audio folder. After that, make sure that you have all necessary plug-ins installed on both systems and are using the same version of Cakewalk. That's all I have. Good luck! Oh, BTW, just so you know, even though it isn't the computer you're having trouble with, Cakewalk is now no longer officially supported on Windows 7. For Cakewalk use, it's past time to upgrade.

This. There should be nothing you need that is only available as a 32-bit plug-in. Modern Lost Angel is an effect that is especially unnecessary with Cakewalk. The much better CA/2A (also an LA/2A clone) is right there in your ProChannel, and it doesn't get any more compatible than that. I think the rest of Antress' FX are also 32-bit and they're mostly clones of hardware that other people have since cloned as 64-bit freeware. Analog Obsession is a good source of such things. If you want to find good 64-bit freeware that's been checked out by other Cakewalk users, there is a thread in the Instruments & Effects subforum that has more than you could probably ever hope to use.

Suggestion for future inquiries: put a taste of the issue you want help with in the title of your post. It's a better way to attract people with knowledge about it. Everybody who posts in this section wants answers. Depends on how hard you're willing to work.?There's nothing about that package that would prevent you from it, and if your budget for mic and interface was $50, you're not going to find better. I'm not one to tell people who've already invested in gear that they should have spent more money and gotten something better. If you had asked before buying the package, you may have gotten a different opinion from me. The better the quality of the gear, the easier it gets to get good results because you're not fighting its limitations. In this case, fidelity of the mic, and possible noise floor of it and the interface. But that's not to say you can't get good-sounding results with what you have, it'll just take more effort and learning your mixing tools. As others have mentioned, entry-level Chinese condenser mics tend to have a presence peak, but in my view it's better to capture the information and subtract some of the highs with EQ than it is to try to add highs where they're not. Noise can be gated or edited out, especially if you're only using the mic for voice. When you record, if you stick the pop filter in front of it and move in close it will help emphasize the body of your voice. Who knows, maybe you have a voice that the BM800 will flatter. If you stay with making music, as your listening skills develop you'll surely outgrow the mic and interface, but by that time you'll know if you want to stick with it. The next level up for vocal recording would be an AT2020 and Scarlett Solo (or Studio 2|4), the pair of which would cost $200-ish new (but are available on the used market). And you'll still be able to use the pop filter, stand and mic clips from your $50 bundle with the better quality gear. Win.

I know that, of course. I was throwing a bit of Socratic Irony at Mister Troll. So much more fun (and effective, if you want them to shut up and go away) than attempting to refute them directly. When I suggested that CbB was based on SONAR X code, well, isn't it, at least to the extent that SONAR Platinum was? ?

Distribution in the States was a WAY different story in the physical media era due to the geographical enormity and population size. Touring still is of course. I get a smile whenever I see the phrase "UK Tour." Geographically, that's about equivalent to touring the state of California. If for whatever reason your label ran into a snag getting your records on the shelves, it could blow your whole career. There's this band from the '70's, Crack The Sky, who were attracting album-of-the-year reviews for their first record, being compared to a heavier Steely Dan, etc., but their label got the radio station copies around before they were in the shops. They wound up very obscure except for in one major urban center, Baltimore, Maryland, where somehow a dj liked them AND the label got records in the stores. So in one single city they were like Styx, and everywhere else like....I dunno, Hatfield and the North or Mogul Thrash were in the US. A few cognoscenti might have known, but that's it. #3 on the bill everywhere but Baltimore, where you better have a big enough venue for their headlining appearance. To this day, if you're an underground-ish act doing a van tour, if you make just a little extra effort to stop and play the college towns between the bigger cities, or book shows an hour or two's drive from whatever larger city where you're part of the "scene," you can make the kids deliriously happy, because they're starved for live music. There's less to do in those smaller towns. If a band from (gasp) San Francisco takes the trouble to play there, you'll sell out of merch and get treated like rock stars. Really quite wonderful if you're used to comparatively jaded big city crowds. Kids will come out whether they even like your style of music or not because it's where everyone's going to be that night. And they're so much less "cool" and standoffish than city punters.

I've never heard President Zelenskyy's speaking voice, but it would surprise me to find out that he speaks English with a Southern accent. Nice, performance, though, whoever it is, and the guy does kinda look like him. After these troubles subside (as soon as possible) I want to hear his new standup routine.

I was surprised at first at the lack of moaning, but then I thought about it and considering the....audience....for Meldaproduction's products, we're not usually of the "if it ain't broke, don't fix it/I just want it to work" attitude. We're more toward the "wow, this thing's great, what can I do to customize it?" attitude. Would you rather buy something with too many features or too few? ? I hope for the sake of the "32-bit Windows 7 that never connects to the net" crew that he allows the old 32-bit versions to coexist with the new 64-bit versions, but as a customer with "lifetime" licenses, I say it's about time. Dropping 32-bit eliminates extra debugging and QA.

I am, at 61, still trying to become "excellent" at anything musical. ? Still trying is good, though, I think on good days. I'm not without my own injury stories. When I first started playing drums, because I took no lessons I was holding my sticks so that they went right across the second knuckle joint on my middle finger, and the rest of my middle finger started getting numb and tingly. Even though I'm Starship Krupa, not Starship Bonham if you get my drift. I tried tape, I tried laminated bamboo sticks, then finally I remembered that I had had a similar issue when I started playing league softball 25 years earlier, but with my thumb joints. I changed up my grip so that I was gripping the sticks at a pad, between joints, and the problem went away. A teacher would have spotted that before it started to injure my nerves, I think. One drummer friend of mine uses those sticks where they drill out the core and replace it with rubber, and dang, those things do absorb shock. They feel odd to play with at first because so much less vibration goes up the shaft. I'm sure you've tried them. For programming beats, not even playing them on a controller, I am sure I'm better at it for having learned to play drums. There's a skill to listening to music and knowing, as a drummer, what will work. Even in hip hop and EDM, one of the guidelines is to try to avoid programming things that would be impossible for a human drummer to play, given our finite number of limbs. That rule is broken all the time, of course, and that's an integral part of some genres, but it's a valuable one to know. Moreover, you have to be able to imagine a beat before you program it (even it that's done as you go along). I'd always been a guitar and bass player until about 20 years ago I started taking piano/theory lessons, which stopped when I cut the end of my left index finger off with a jointer. Fortunately a good hand surgeon was on duty that day, so while my left index finger is about 1/4" shorter, it still works. It didn't exactly improve my guitar playing. Tony Iommi'd. ?